Take a Drink: for every classic horror reference
Take a Drink: for the bodycount, of course
Take a Drink: for scream queen screams
Take a Drink: whenever Jamie Lee Curtis snaps on somebody, verbally or just… literally
Take a Drink: for Jack O’Lanterns
Do a Shot: for any form of “I’ll be right back.”
By: Henry J. Fromage (Two Beers) –
A few weeks ago, a master of horror announced his intentions of revisiting arguably his most accomplished creation a full 20 years after it was believed to have finished for good.
Death Bed 2: Rise of the Ottoman is going to be EPIC
David Lynch isn’t the first to go down this path, though. The Halloween franchise also returned after a 20 year hiatus (“But the sequels!” “Shhhhh”) with Halloween: H20. I’d say John Carpenter returned, but he didn’t due to bad blood over how much money he got from the original. Jamie Lee Curtis’s Laurie Strode did, however, and the story joins her two decades later, still fearing the return of her murderous brother, with a teenage son (Josh Hartnett) to worry about if he does. Spoiler Alert: he does.
Steve Miner took over the director’s chair in the stead of Carpenter, delivering a flashier, glossier product than normal for the franchise, and Curtis had a much larger influence this time around, but the biggest imprint on the film is a voice who owed a lot to, and often referenced Carpenter’s classic- Kevin Williamson. His Scream exploded on theaters in 1996, just two years prior, and the influence of that film is definitely felt here, along with Williamson’s own role as co-executive producer and script touch-up artist.
You could call him a John Carpenter… Stalker *rimshot*
This film boasts the same sarcastic, overly erudite, slang-slinging teenagers (really killing it with casting, in particular a super-young Josh Hartnett, Michelle Williams, and even Joseph Gordon-Levitt) and the same meta, reference-happy execution (my favorite: the presence of Janet Leigh, who as Alfred Hitchcock’s original scream queen, next to her own car from Pyscho, and the real mother of Jamie Lee Curtis no less, is about as good as stunt casting ever got).
However, it’s not all stylistic fireworks. While there are a few gory thrills to be had, this film returns to the masterful, slow-building tension of the first (that fuckin’ garbage disposal…) as well as Carpenter’s penchant for using the whole frame of a shot for horror. For the first time in the series, though, this film isn’t trying to emulate Halloween, but rather reference and create something separate from it. It succeeds, but also stays true to its roots, leading up to a table-turning finale that feels like a fitting, definitive end to an iconic story. Laurie’s a Myers herself, after all…
This 20 years later plotline sends the eyebrow-raising questions into overdrive. What’s ‘ol Mikey been up to for 20 years? Why now? Again, how the hell did he hide out for 20 years.
That Bed & Breakfast might’ve saved his soul if the bank hadn’t foreclosed…
Also, everything about LL Cool J’s involvement is ridiculous, but it’s the good kind of ridiculous. I’m pretty sure he took more bullets than 50 Cent and Michael Myers himself, so that deserves some applause.
Halloween: H20 is the class of Halloween’s many sequels, and it’s not even close. It honors the spirit of the classic while going its own way, and gives an unlikely and deserving end to the story that began all the way back on Halloween Night, 1963.
“But what about Resu…” “STFU!”