Review of the Film Halloween

There is less than one week from the Halloween. When it comes to Halloween, some grace and good-looking faces of Vampires occurred to most public. In such series of films, they always were taken on in a popular way rather than a nasty way. Sometimes, they appeared with luxurious gowns and outfits with chic berets and jewelries.

A really classic horror movie could not be killed off. New hands would like to reboot the masterpiece in 1978 – a deliberately intelligent reproduce. In the renowned film American Nightmare, Adam Simon regarded John Carpenter’s Halloween in 1978 as the last horror movie, which deviated from the mainstream values. Beginning from Night of the Living Dead, masterpiece of George Romero in 1968, Simon unlocked the rebellious socio-political films like Last House on the Left, The Texas Chain Saw Massacre and Shivers. Carpenter’s rude efficient modern morality emerged and changed slightly.

In an exciting suspenseful thriller, youths who addicted to illegal sex and intoxication were followed and slashed by merciless killer. Halloween just like a funhouse with a sense of puritan. Carpenter illustrated that he didn’t mean to end a sexual revolution, and he apologized for such misunderstanding deeply in a humored tone.

Certainly, such masterpiece also brought some negative effects, like production of loads of titillating slashers to teens. Mario Bava’s blockbuster A Bay of Blood also trigged heated discussion about gory riffs. Loads of inferior follow-ups were produced and rebooted after a low-cost blockbuster, like Halloween II by Rick Rosenthal in 1981 and boring sequels like Rob Zombie in 2007.

But at present, Gordon Green has transferred from Terrence Malick-esque hot indie to stoner comedy. Halloween H20 denied instalments from four to six, reviving with a surprisingly sprightly results. The latest incarnation successfully gets rid of inferior sequels and reinvigorates after the release of the first film.

Previous knife-wielding madman Michael Myers was thrown into a mental institution, spending all his rest time in silence. At the same time, the survivor and final girl was living in a remote but secure complex. For the sake of paranoia, her whole life was screwed, leading to marriages collapse, relatives’ estrangement. When Laurie was disturbed by bothering podcasters who would like to scoop for more stories, she replied them with only a word, “I am a basket case.”

Featuring some attractive highlights, Green released a dexterously packaged thriller, in which ironic humor and knowing genre were combined with each other perfectly. It showed homage to the first film from A to Z, including many apparent characteristics like killing spree and floating shots. When the Shape’s sarcastic face may have aged or decomposed, Michael’s supernatural kept the strange but old retro feel.

Changed things lied in avenging angel, pitched where the common ground of between the reborn strength and the now dead psychiatrist. But it was denied by Laurie. Fans could admire the smart turn of crucial scenes in the very beginning. Photographer always framed such two persons as interchangeable mirrors of each other.

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