‘Halloween Kills,’ and That Makes for a Bloody Mess

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Halloween Kills (CREDIT: Ryan Green/Universal Pictures)

Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak, Anthony Michael Hall, James Jude Courtney, Nick Castle, Will Patton, Thomas Mann, Kyle Richards, Nancy Stephens, Robert Longstreet, Charles Cyphers, Dylan Arnold, Scott MacArthur, Michael McDonald

Director: David Gordon Green

Running Time: 105 Minutes

Rating: R for Blood, Guts, Viscera, Screaming

Release Date: October 15, 2021 (Theaters and Streaming on Peacock)

According to Halloween Kills, there are two main reasons why you should avoid mob justice:

1. You might go after the wrong person and end up killing an innocent man.
2. The guy you’re targeting seemingly can’t be killed.

That second lesson applies specifically to the Halloween film franchise (although it can certainly be extended to other horror classics). These seem like pretty obvious lessons, but I guess I should cut the characters in this film some slack, considering that they don’t have the same context that we viewers do. In case you need a refresher: the David Gordon Green-directed Halloween Kills is a direct sequel to the 2018 Halloween (also directed by Green), which was itself a direct sequel to the original 1978 Halloween that ignored all the other sequels. So while in the current continuity it might be a slight surprise to the residents of Haddonfield that Michael Myers is indestructible, it’s not at all surprising to the audience.

As the Halloween franchise is 43 years old and a dozen films deep, it’s forgivable if it doesn’t pull off too many genuine shocks anymore, so long as it has something to say. And Halloween Kills certainly wants to have something to say vis-a-vis that mob justice angle. But it seems to me like the townspeople seeking justice are actually fairly effective. Sure, the misidentification is pretty bad, but they eventually do manage to corner Michael. Their plan would have worked against someone a little more mortal!

But of course, the dictates of pre-planned sequel-dom make it clear that an ultimate victory is fully out of reach. A third entry directed by Green, entitled Halloween Ends, is already on the schedule for next October. So right now, we can feel pretty confident that Michael will return and that Jamie Lee Curtis as Laurie Strode will as well. Everyone else, even some returning favorites (including child star-turned-Beverly Hills housewife Kyle Richards herself), are a little more vulnerable.

So then, we’re left to hope that the set pieces are at least effective. Pretty much all of them are throwbacks to the style of the original. Some are pretty funny, others are melodramatic, all of them end in relentless violence. Probably the most amusing is the series of scenes with Michael McDonald (the steamroller-crushed security guard from Austin Powers) and Scott MacArthur (best-known for the short-lived Fox sitcom gem The Mick) as a couple just trying to have a relaxing Halloween night in. Unfortunately, they decided to live in Michael Myers’ former home, and that just doesn’t bode well for their future together. If Halloween decides to go in a sillier and campier direction, they’ve got the blueprint right here.

Halloween Kills is Recommended If You Like: Saw-style gore, Inevitable death, Anthony Michael Hall springing into action

Grade: 2.5 out of 5 Masks

This Is a Movie Review: Me and Earl and the Dying Girl

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Greg Gaines (the titular “me”) is reminiscent of Community‘s Jeff Winger. In the beginning of his story, he puts a great deal of effort into proving that he does not care, only for his ending to underscore the lengths to which he does care.

Greg defines himself by how detached he is from the high school clique system. He affects a dispassionate disposition, but he puts so much effort into being on amicable terms with every group. He goes so far as to devise a taxonomy that is thorough enough to include “Boring Jewish Senior Girls, Subgroup 2A.”

Every other major character is presented through Greg’s limited perspective, and accordingly they register as if they are all in their own distinct movies. Nick Offerman and Connie Britton play slightly against type/slightly extending from their types as Greg’s parents, making for a pretentious art flick and a slightly overbearing dramedy. Molly Shannon is right in her wheelhouse in the overbearing comedy portion as the mother of the girl with cancer. Jon Bernthal is Greg’s history teacher in the slightly dangerous bildungsroman. And Katherine C. Hughes, as Madison, the hot girl who means well but makes Greg feel terrible by virtue of being a hot girl, prompts the animated fantasy sequences.

Fuller portraits of Earl and Rachel (the titular girl) manage to shine through, thanks to their significant screen time. Greg refers to Earl, his filmmaking partner, as his “co-worker,” but Earl is quick to point out that they are in fact friends. There is a bit of a magical Negro vibe at play, which could have been unfortunate save for RJ Cyler making Earl so strong-willed and the narrative presenting plenty of personal background.

Rachel could have very well been the embodiment of cancer-related epiphanies or just one half of a typical teenage weepie romance. Indeed, Greg often suggests that the story seems to be going in that direction, only to immediately rebuke that idea. Instead, Olivia Cooke keeps Rachel appropriately grounded, as she comes across as just a person dealing with her illness on her own terms. As far as Greg and Rachel’s relationship goes, they develop a true friendship as a result of spending a lot of time with each other. Potential interpretations of the exact nature of their friendship are left wide open.

Madison represents an intriguingly unique story tack. She emerges as another love interest for Greg, which – for a character with only a handful of scenes in a movie with a more expected potential romance – is disconcerting, but also resonant. Greg assumes that Madison’s attention towards him is just pity, but there are enough subtle tells to suggest that her interest is genuine. What emerges is a film accomplished in its thorough commitment to taking on the subjective perspective of a protagonist so insecure that he cannot imagine that anyone would actually think highly of him. As Me and Earl and the Dying Girl is stuck in Greg’s head for so long, it is cathartic when he is finally able to get out of it.

A few words must also be devoted to Greg and Earl’s parody films (with dumbly brilliant pun titles like “Eyes Wide Butt,” “My Dinner with Andre the Giant,” and “Pittsburghasqatsi”). Because Greg is so unassuming regarding their quality, they come off as more charming than annoying. And based on what footage is actually shown, there appears to be decent composition and editing. It helps that Earl’s committed performances consistently shine through. Much of the story is leading up to the premiere of the film that the duo are making for Rachel, which could have ended up as so many clichés, but instead emerges as an idiosyncratic vision (regardless of quality level) and hardly what anyone could have possibly expected.