Halloween: The Curse of Michael Myers Review

The curse of Michael Myers is, in fact, his inability to appear in good films. He has the Aaron Eckhart effect. Myers suffers as Jake Gyllenhaal does also. Forever doomed to bad films, despite being quite the talent and an interesting figure that has not gelled well with the many directors who have taken a crack at him. A sixth instalment, Halloween: The Curse of Michael Myers is another cheap shot. A low blow at the man who is already out for the count. Seven years rest, and wheeled back out to capitalise on the effects of Halloween. I talk, of course, about Donald Pleasence. Myers is there too, in as useful a capacity as Paul Rudd’s odd and awkward appearance of Tommy Doyle, a haunted boy whose encounters with Myers are as uninspired as the rest of them. 

But six films into a series without much energy to it and ideas are bound to run dry. Speaking of energy, it is the energy connecting the Strode family to this demented killer. Why is not the point of Halloween: The Curse of Michael Myers, but what. What does he stalk these poor generations of the Strode family for? Credit where it is due, Freddy Krueger never harassed families. Well, he did, but not one strand of genes. That is where these later Myers-based films fail. They are trying desperately to understand a link between Strode and Myers when there does not need to be one. Happenstance encounters are far more promising and varied than differences of blood. Especially here, where Myers and this varied ensemble troop on through with little rhyme or reason. They are joined solely by location and a vicious bloodlust for Strode family members. The excuses for it are nonsensical, and the actions taken beyond that are stunningly redundant. 

But that explains the series as well. Redundant and nonsensical. No wonder the subsequent sequels have tried rubbing out any memory of their existence. It is not just what director Joe Chappelle avoids, but what he incorporates. Cults of evil druids are protecting Myers as some sort of deity. Quite the leap to make between shoving him down a mineshaft, blowing him up with dynamite, shooting him until he’s seemingly dead and then making him an odd demi-god that people praise on a similar level to Jared Leto or Britney Spears. But Myers is neither a shameful cult leader nor a pop icon, he is a villain that jumped the shark in 1995 and never dipped from there.  

Farewell to the Thorne series, whatever that means. All of it, meaningless. Retconned by the next instalment, for it was too embarrassing to look back on these clumsy features and string any sense of narrative along. Pompous, over the top and a renegade in its own right, Halloween: The Curse of Michael Myers jumps the shark, perfectly so. It is annoying and almost anarchic in its own spectacular way. A far stretch better than the previous two instalments, primarily because of how odd and creative it can get. Those druids, Rudd, Pleasence, and Myers himself, all come together in a way that should never be seen. See it, though. Embrace this fascinatingly awful feature.  

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s